Saunders - Into the Blue

7/23/2019 Saunders - Into the Blue

http://slidepdf.com/reader/full/saunders-into-the-blue 1/25



planatory notes:

1arinet in Bb (or Eb) (el.) :

a..l. -

fluttertongue

gradually to fluttertongue

gradually to normal tone

air tone, written pitch heard. actual sounding dynarnic given.

find a klangfarbe between a..r and

~,,¿

:warm and shadow-like.

gradual change of klangfarbe

suggested place for re-take of breathe.

note:

The first 2 sections of the piece were composed with the sound of the Eb darinet in mind. The piece may therefore be performed on either

the Eb or the Bb darinet.When deciding important considerations are:

extremely ferocious quality of tone associated with Eb d.

dynarnic contrast eg: sJfrc:::::::..JJ; of prime importance

high and loud hard to aehie~e on Eb d.

Ebel.specialists may combine these qualities if not ord. el. in Bb is satisfaetory.

bassoon (Bsn):

needs a mute

fluttertongue

air tone, written piteh heard. actual sounding dynarnie given.

multiphonic tongueslap. noise , fundemental heard if possible.

r

A U LM.4

I

very loud, brutal and raw.

multiphonic on given fundemental.

overtone. allow beats through. ] when in braekets the fundemental is silent.

note:

p.16-19 (final seetion).

a different reed and a niekel and silver crook may best suit the low E¡l¡ tones.

Find about 10 different fingerings of C Cr

Create a wide range of klangfarbene.g: dose E-hole darker, then a further 4 fingerings are possible with LH thumb. Pitehes will vary

rnierotonally.

Choose a chain of different C¡i:¡s for each gesture. Please bear the following in mind:

this is a (subtle) melodic line. lyrieal and expressive.

Melt into the VC/Cb/Bsn palette.

The upper oetave is obtained by overblowing and is part of the legato line.

cello and double bass (Ve and Cb.) :

need mutes.



SP

~SP

d. ba.tr:

IlIlIIN

sul ponticello. written tone still audible.

st ill SPcolouring but actual tone heard more clearly.

sul pon t extreme:

when play f;t4Lé~ to bring out overtones.

overtones domina te sound completely.

when F/FF sound tends towards distornon.

lots of bow pressure.

artificial harmonicalways sounds 28ves higher fuan stopped tone.

natural harmonic

maximum pressure between string and bow: a short, heavy, noise stroke, deep in fue string.

fuen release.

a noise accent as above tostart fue note, like a marcato extreme articula non, Always after accent:

sub.ord.

tremelo

col legno baltuto: 1/2 hair, 1/2 wood,

battuto with the hair of the bow lllil very heavily ,making wood of bow strike the fingerboard. very

loose RH armo loud and percussive,

long gliss is measured. arrival tone given in brackets,

the open strings

microtonal trill

floating. sullasto bow stroke.

please note:

p.13 - 19 Vc and Cb. (

sco_) C:rl:¡.:l.

rate oí pulsation between stopped tone an~~op:~ 5;(~rrr{ste:

+.Jt

..L. ..t.I •..•.•

--..,{...sé

freely change bows (silenlly), mostly SUI tasto. -- --

Since open strings (Vc III and Cb

n

resonale naturally, play more on fue stopped string, focusing in on the changing pitches aJ)d beats.

double bass only: l •

de-tune Vfu string. no tone - string buzzes/pulses. _

Y~

8uzz

de-tune lo a pitched lone. ' t

r~-tune Vth string to normal turung_ yt

Il ¡

note: i Cn fue score and fue Cb parl treble def is al sounding pitch. ~-=

in fue score p.16 -19 the bass defis at sounding pitch~.

lOUJ

(OtO

Piano:

Wifu 3rd pedal (sostenuto pedal).

Pianist plays from fue score.

Open piano lid fully (but do nol remove), remove music stand and eifuer place further back on fue frame, placing A3 score on some kind

of hardboard, or place A4 score before you.

Performer needs a plectrum.

1suggest using stickers to mark the tones inside the piano.

silently depress keys and hold down with 3rd pedal.

silently depress keys and hold down wifu left hand.

--



pedal acHon attack sFF.Stamp foot down. big pool of resonance.

a chromatic cluster, outer tones inclusive.

a cluster without the black keys.

also chromatic cluster, exact tones not important, as many as possible.

leave palm on strings therefore damping sound.

hit the strings staccatto allowing resonance through.

·muted . One hand plays tone on the keys, other hand stops string by bridge or (with higher tones)

directly behind the dampers.

Either 1. r written tone heard

2. í.•..•••

-

(Eorhigh tones) a percussive attack, but actual written pitch still heard.

t

play tones on the strings inside the piano.

specifies how the tone should be played~

gliss from highest tone possible.

~

d

•

scratch length of strings with nails towards the body. (Slow moHon

fast moHon louder.)

l6-18 are notated freely, with cues at the start and during each gesture. determine the shape using the visual layout.

ree, expressive and lyrical. the piano line is suspended above the low G mo.

he melodic line around the following tones is most most impúrtant. ~

reussion (pere.) :

single stroke

crescendo along length of metal

rub back and forth at giveh pulse keeping contact throughout.

choose 2 pieces of metal. strlke along the length of each other in the manner of sharpening knives. a high, icey and white

ound. very loud and, if possible, a full and resonant sound. for first performance we used a Iar~ hand held sickle (for cutting long grass etc.).

f

L_f

--==-

I 2

a loud fast trillo a press button door bell mounted on metal for a loud and shocking dynamic (aJways FF).

football whistle which trills loudly.

gh woodblock

ss drurn: natural skin. In addition needs a towel to damp the skin;

f)

(metal) ~

choose 3 contrasting colours -

loud and dry.

(side of drum

are drurn:: with and without snare.

in J = 84 section

~ro: played with chopsticks

on s roar:

use a long double bass string to make the very long

ppp

tone possible.

npitched, thick-rirnmed .medium and low medium range.

. o e

ve left the finer details o many klangfarbes, in the context of each texture up tot he individual performer. Actual sounds and

esonances depend alot on the acoustic and size o concert space.

instruments:

1.

)ti

9 ,.



o -- decrescendo to silence

W-

glissando between the 2 notated pitches.

>

accents are always as biting and marcato as possible,

extreme contrast between O and

itongue stopwinds and brass)

bowstop (strings)

secco or stop resonance (harp and percussion)

líes between the pitches.

>

o

always secco and abrupt end of tone.

orJ

- normal note Le previous effect is cancelled.

note on vibrato:

assume no vibrato unless otherwise stated:

expressive

vibrato to colour tone if approbriate

poco vibrato

just a lit tle vibrato tocolour tone.

ib

ordinary vibrato

vibrato extreme, to as wide as possible.

General:

Within each texture the dynarnic levels are relative, so the soloists should seek to balance the levels, perhaps keeping in mind that each

separate gesture is built out ..of a shared palette of kIangfarbe.

Dynarnics writ ten provide an ideal but are not apsolute.

Contrasts of dynamic, klangfarbe and art iculation should be as extreme as possible.

Duration:

ca.13 minutes

Seating:

Cl.

Piano

Pere.

;

Bsn.

Ch.

Ve.

lnto the Blue

composed in 1996, was commissioned by the Baden-Wiirttemberg Ministry ofScience and Arts. The first

erformance was given by the Ensemble Aventure, conducted by Christian Hommel, on 23 June 1996 in Freiburg, Germany.

Performing material is available on hire from the publishers



Rebecca Saunders

(1996)

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Saunders - Into the Blue